History is made at night

Sunday, February 18, 2018

Mark Leckey's film 'Dream English Kid 1964-1999 AD' is a collage of what he has termed 'found memories', fragments from a life time of TV, adverts and other audiovisual media that sketch out a kind of oblique autobiography of growing up in the UK in the second half of the twentieth century. I did too and have similar interests to the artist so not surprisingly it strongly resonated with me.

As with his previous 'Fiorucci Made me Hardcore', music is central to the film but in a particular way. Short samples are manipulated and looped so part of the enjoyment to be had is spotting some of their sources.

The 1960s section of the film features the opening chord of The Beatles 'Hard Day's Night', a space launch and Harold Wilson's famous 'White Heat of Technology' Labour conference speech. Possibly some distorted chords from Summertimes Blues in the mix there too, as well as some stylophone. A child plays while an old tape recorder appears to play a snatch of Joni Mitchell's The Circle Game.

A frisbee heralds the 1970s. Strains are heard of Charles Aznavour's She - a massive UK hit in 1974 - as a woman in her underwear does a her hair in a mirror (a recreation of an illicit childhood memory?). A candle in the dark alludes to the power cuts of that period. Hard to believe now that in 1972 and 1974 electricity supplies were cut off as the Government sought to preserve coal stocks during miners' strikes.

We are entering the post-punk period. A couple of words are heard from Blondie's Heart of Glass ('in between'), and there is footage of Joy Division playing at Eric's in Liverpool, a 1979 gig which Leckey apparently attended - we hear echoes of the drum sounds from She's Lost Control (I think). Scenes of young kids outside Eric's are punctuated by one word which might be 'punks' from 'Part Time Punks' by the TV Personalities. To scenes of urban decay we hear what sounds like the opening drums from The Fall's Totally Wired fading into the only lengthy sample in the piece - a section from And the Native Hipsters 'There goes Concorde Again'.

Some football fans move us into the casual and not so casual 1980s. There is a joyous section of women dancing while Luther Vandross loops ('never too much') plus a little Kate Bush ('I put this moment here' from Jig of Life), but there also seems to be a moment of sorrow as the same women observe a minute's silence. All this is intercut with one of the danger moments of the Cold War - the shooting down of a South Korean airliner (Flight 007) by a Soviet jet in 1983. This was a time of heightening tension when nuclear war seemed to be a permament possibility, leading many of us into the Campaign for Nuclear Disarmament. Leckey refers to this showing signs of apparent Nuclear Winter desolation and there seems to be a short clip of Peter Watkin's The War Game in there - this famous depiction of a nuclear attack on Britain was made in 1965 but banned from TV. In the 1980s it was often shown at CND events, I remember seeing it at Luton Library Theatre in this period.

The focus shifts to early 1990s London - the opening credits of 'London Kills Me' (1991) giving way to (partially reconstructed?) footage of squat life, then Black Market Records in Soho. A flick through a record bin looks more like Leckey nodding to his musical influences rather than the actual selection in Black Market as we see albums including Soul II Soul, Stations of the Crass, Joy Division's Unknown Pleasures, Joni Mitchell's Blue and The Beatles' Hard Day's Night.

Some Soho street footage (including Old Compton Street), then a recurring fragment of Double 99's speed garage banger 'Rip Groove' takes us into images from the August 1999 solar eclipse, watched by crowds all over the world.

Threaded throughout is footage of empty motorways - perhaps highlighting their periodic transformation from images of gleaming modernity in the 1960s to their later graffiti'd actuality, not to mention desolate future remains of a vanquished humanity in a post-nuclear world.

I was initially confused by the closing sequence - why is Marianne Faithfull juxtaposed with a Pretenders record spinning round? In fact, this just spells out the title of the film. The word 'Dream' (from cover of John Lennon's No. 9 Dream - something I worked out via help on twitter), Faithfull's (Broken) 'English' and the Pretenders 'Kid'.

Although you can watch it online, it is best seen on full screen which you can do at Tate Britain, London in the Sixty Years room until Sunday 25 February 2018. The room also includes some other key works linked to musical and social history over this same period, including from Coum Transmissions, Jeremy Deller, Chris Ofili and Jamie Reid (the last day for this room is also 25/2/18)

The first article, from July 22 1982 is a review of a live event for Gary Crowley's Tuesday Club Capitol Radio show with live appearances from Culture Club, Bananarama and The Higsons. It includes a great picture of Joe Strummer with Jennie Belle Star, Jerrry Dammers and Chrissy Boy from Madness.

In terms of a regular night out at the Palace, Deborah Steele's article from Smash Hits, 15 August 1983 is more evocative. It is headlined with Steve Strange's description of the Palace (which had opened some 18 months previously) as 'A club for the people created by the people'.

'The Camden Palace... a place full of famous people trying to look ordinary and ordinary people trying to look famous... Many would go so far as to argue that Thursdays represent what British pop is all about - the people, the stars, the music, the fashions and the attitudes... Steve Strange (of course), The Palace's genial host, signing autographs, having his picture taken and looking very striking in 'Tom Bailey' goggles and blue tea towel wrapped round his head. He tells me his new image is going to be that of an American footballer. Also pretending not to be famous are Edwyn Collins from Orange Juice, Chris Foreman from Madness, Miranda and Jennie Belle Star, a couple of Hoovers and George and Andrew from Wham! Oddly enough, no-one really pays these 'stars' too much attention ("everyone's a star here", says Steve)...

'The quality of the sound is incredible (and loud too) and the light show has to be seen to be believed. Lazers, strobes, neon strips and great shafts of light beaming out of computer-controlled rotating gantries, it's like the famous spaceship scene out of Close Encounters. Add to that a massive video screen which descends every so often to show the latest pop videos and you can understand why so many people do nothing but dance all night... Whether it's the bar proppers, posers, pop-stars upstairs or the dancers on the floor, The Palace is about having a good time'.

The music from DJ Rusty Egan is described as 'largely electro-disco with a few old Roxy Music and Simple Minds evergreens', catering to a crowd in a diversity of styles - an 'assortment of Boy George clones, bleached quiffs, fish-net stockings, expensive suits and sunglasses'. People queuing round the block to pay an 'expensive' £4 to get in and £1.60 a drink.

Steve Strange with Jennie and Stella Barker of the Bellestars
cutting the cake at Camden Palace first birthday party(Smash Hits, 12 May 1983)

See also: Posing at the Picture Place, Standard, May 11, 1983 for a reminder of the dole/cash in hand day lives of the night time diy superstars - ''I’m wrecked', Nick announces as he downs his sixth pint of lager at about 2am. “I was so late waking up yesterday I had to take a taxi to the dole to sign on before I went into work.” Nick [not his real name, obviously] looks startling in a hat so huge it has to be seriously trendy, and is well aware of the irony of his remark. He is 19 and clears £80 a week in Vivienne Westwood’s clothes shop which also dresses him for next to nothing, another £15 on Saturday checking coats in a nightclub – oh, and of course £22 social security. “That’s just pin money,” he says. “It pays the rent.”... Mike uses his £25-a-week dole on top of what he earns in Kensington Market to fund his nights out. Among a repertoire of sharp practices people here admit to, fare-dodging is regarded as essential and one 18-year-old charges friends £1 for lifts in his car home to the suburbs'.

The Leveller interviewers expressed mixed feelings about it - 'It was a friendly interview yet we left dissatisfied, as a lot of the time we felt we were talking at cross purposes. What Vi says on the record and to us shows she feels deeply about the status of women. But together the group expressed the anarchist view of everyone being equally oppressed, and so we often felt we hadn't got through to each other. They felt that government control was some kind of abstraction whereas to us, it was very real (the DHSS, the police). PS it was a very nice curry'.

I think at the time there were many anarchists who would have had a very different perspective to Poison Girls, like the folk who did the paper Xtra! for instance. But the Leveller collective's take on the band wasn't far from my own young anarcho ambivalence about the band, and indeed about Crass, in that period. On the one hand I had this respect - which older me now sees as condescending - for people over the age of 40 still making some noise politically and musically! Understanding too of their wish to break out of the confines and expectations of the punk ghetto. But also frustration at the somewhat burnt out on activism, been there and done it vibe, e.g. Lance saying 'I remember feeling when the Vietnamese war was over that there was a big hole in my life... I realised that I wasn't in this to oppose the Vietnam war, becuase once it was over I felt disappointed'. Maybe older me can appreciate this honesty and also Vi's critique of macho posturing about other people's struggles : 'that's a very patriarchal thing, puffing up self-importance to talk about things like that and to avoid dealing with what's going right a the foot of the mountain'. Their personal is political approach challenged me in a positive way, but then as now the personal isn't enough to solve politics.

Thursday, July 27, 2017

20 years ago - on 2 August 1997 - the second Summer Rites lesbian and gay free festival was held in Brixton's Brockwell Park. Coming just a few week after Pride, which had been held not far away in Clapham Common, the programme declared 'In no way is the event a rival to Pride but rather a compliment, an addition, a festival where London's lesbians and gays can have their own party'. The main organisers were Kim Lucas and Wayne Shires, the latter of whom also ran Substation South, recently opened as a gay club in Brighton Terrace in Brixton.

The first event took place a year earlier in Kennington Park. I don't remember too much about it apart from seeing Gina G - the Australian singer who sang for the UK at the 1996 Eurovision song contest in Oslo. But I did record in my diary:

'August 3rd 1996: Summer Rites in Kennington, a lesbian and gay free festival for London. Drum and bass in the Queer Nation tent, a mixture of pumping house and eurotrash in the Love Muscle tent, one minute it was hard trance and the next it was Gina G ('oo ah just a little bit') with paper confetti raining on the dancers to deflate any techno boy seriousness. The inevitable
cheesy cover versions too, including a terrible/wonderful Oasis cover that sounded as if it was off the same production line as Berri’s sunshine after the rain. The DTPM tent was heaving, almost but not quite as frenzied as its effort
with Trade at Pride' [I think there had been a DTPM/Trade tent at Pride shortly before]

﻿

Front cover of the glossy 36 page programme

Running order on main stage at Summer Rites 1997

In Brockwell Park 1997 the main stage featured live acts such as Jimmy Sommerville, David McAlmont, Ultra Nate and Barbara Tucker, introduced by comperes incuding Amy Lame, Divine David, Rhona Cameron and Graham Norton.

The park also included some big dance tents put on by some of the main LGBT clubs at that time, including Love Muscle (regularly held at the Fridge in Brixton), DTPM (hard house night at The End), Popstarz (the gay indie club held at the Scala in Kings Cross), FIST and Queer Nation (the last two both at Substation South, the former a fetish/techno night and the latter known for its more soulful house and garage sounds).

Brockwell Park site plan

From my diary: 'thousands were partying at Summer Rites. What the 'rite' was for wasn't entirely clear, but it later transpired that William Burroughs and Fela Kuti died on the same day, so we could call it a farewell rite for them. We toured around the various tents dancing to the different sounds. In the Popstarz tent they played Blur 'Song 2'... but we left on hearing the dreadful Meredith Brooks 'I'm a bitch, I'm a lover' dirge. The DTPM tent was big and busy with housey beats, Love Muscle was a cheesefest, but we spent most time in the FIST tent where pumpin' techno was the music of choise'. The programme lists the FIST DJs aas Smalls, Graham D, EJ Doubell and Karim.

We had our young kids with us, aged 10 months and five, the former dancing on our shoulders, the latter 'fascinated by the scantily clad podium dancers - a toplesss woman with netting over her face and a man in a minute metal kilt. 'Why are they showing their bottoms?' he asked'.

Queer Nation after party at SubStation South, with DJs Francesco Simonit, Jeffrey Hinton and Supadon.

Monday, July 17, 2017

'Feels and Flows' by Paul Maheke at Tate Britain in London is essentially a recreation of aspects of a nightclub space within the gallery, developed in response to the Queer British Art (1861-1967

exhibition currently installed there:

'What does it mean to queer? How might we occupy a space and queer what surrounds us with dance and music? What about this is political? Artist Paul Maheke invites you to take your place on the dancefloor and experiment with movement and fluidity. Gathering together different elements from the dance club like sound, light and moving image, you and your family are invited to hang out, move, chat and explore different ways to turn the Learning Gallery into a space for queer celebration'.

'The Dance Floor is packed with stories. The Dance Floor could never be a story with one voice'﻿

Friday, June 23, 2017

Datacide, magazine of noise and politics, has a stall and will be selling the new issue - Number 16. Contents include a critical review article by me on the book 'Angry White People' about the English Defence Leagure and Luton.

All the cool cats will be heading to Datacide stall at the London Radical Bookfair﻿

Wednesday, May 03, 2017

Hackney police have twice risked a riot to merely stop people from dancing. In January a Vox Pop party was first busted in south London. As the rig packed up, people loudly arranged to meet at the snooker hall in Hackney, which had just hosted a successful succession of totally havin it! Xmas parties. Soon after people arrived at the snooker hall, police began to descend from all four corners. The building hasn't yet been opened, so around 200 odd party people were milling about outside. As it began to become evident that things were getting seriously on top, people managed to get into the yard, and Kerr drew shut the huge double doors.The police were now shut outside. This turned out to be a temporary measure though, as the police, hyped up and on one battered the way through, and wielding batons ordered everyone out. More and more police descended, until our bewildered revellers were outnumbered by 3 to 1.

Truncheon happy and on a seriously aggressive testosterone tip, the Metropolitan police were out for a fight. As an escaping Virus rig backed out of the venue, the police all began to move towards the reversing van. Loyal party goers instantaneously rushed forward to the defence of their sound system. Violent chaos then blew up, and the Virus rig managed to slip away unhindered. Police charged and began to batter all and sundry. On their first charge two thirds of the party people immediately scattered and left. A hard-core of around 100 remained. Police pushed them round the corner into Well Street, aiming swipes to the backs of legs to those who didn't move fast enough. Police control then idiotically herded the remaining crowd into a nearby housing estate, thereby creating 10 times more disturbance than would have ever occurred before.

Hackney police again went in for the overkill on a party put on by Jiba Jake and Virus in an old dole office on Drysdale Road. The place had been happily partied two weeks previously by the Tofus, was away from any residential, but an inspector McCauley saw fit to put an end to the bank holiday merriments. When he arrived on the scene, Jake's tactic of admitting everything and then hoping that they will all disappear didn't work this time. McCauley responding to one telephone complaint, began to moan on about the rigs stealing electricity and demanded that the fuses be taken out. By this time a number of his PCs were in on the edge of the dancefloor (one was definitely spotted moving rhythmically to tunes being dropped by Manic Josh!) along with around 200 party people already inside. In the end Jake went over to the fuse box and shut off the power to the whole building. Pandemonium broke out. McCauley went mad because his men were now trapped inside a dark building with 200 pissed off party people. The leccy was then turned back on. By now the hard moody bastards in flack jackets had turned up and one of the McCauley's right-hand men was heard to say "right, it's stick time lads!" It was decided to tell the people inside (who were still largely unaware of the situation and were still boogying) that the time had come for them to wisely go. Eventually the building was cleared and the rigs allowed to pack up and go.

When asked why he had decided to stop the party McCauley answered "because I can". When asked what powers he had just used to clear the building, he mumbled ummed and ermed but failed to come up with an answer. He was then asked if he used any law at all in his operations and he answered arrogantly "yes the power of persuasion". While 30 odd of her majesties finest were tied up in this fiasco, and assault on two women crackled in over their radios. A distinct look of shame crossed their faces when they knew we heard'.

Written by 'CRS'. Report from Frontline magazine, number 3, Summer 1996

Friday, April 28, 2017

From the Face magazine, February 1983, as part of an overview of the soundtrack to London nightlife at that point, an interview with the late Colin Faver 'One of the Camden Palace's four DJs who also plays Cha-Cha, the one nighter that provides a pansexual sideshow to Heaven's straight night each Tuesday'.

"The Palace on Saturdays is definitely the most upfront disco in England. Tuesdays, Wednesdays and Fridays educational, 50-50 disco and electro pop;Thursday sticks to the no-funk groove; so on Saturdays we mix in funk and disco funk.

A lot of bands that have come out of the Palace initially as cult groups are now soft pop, like ABC, Culture Club. George proudly brought his first single to us and a whole new dancestyle developed from the girls in the Culture Club outfits, probably because they're so hard to dance in.

But the reaction has been a return to heavier underground sounds: Iggy, Theatre of Hate, Lou Reed, Passenger. A lot of people don't like funk and we get asked for Killing Joke now which normally rarely gets played in discos. I reckon it's due to the influence of the Batcave and bands like Sex Gang Children and Bauhaus.

When the Palace opened we were almost totally electronic – Visage, Soft Cell – but the most noticeable difference has been towards an acceptance of disco which was once a dirty word, particularly since electronic funk like Whodini and Man Parrish. Saturdays are good because people will dance to what's played. We've tried gay disco like Patrick Cowley and Roni Griffith and people to listen. Hard New York disco funk for sure came into its own last year on three labels in particular: Prélude, West End and Salsoul. For me this is the underground music. It's just like the days of punk because it revolves around small labels. D-train and Peach Boys really began the move.

I do get pissed off by NME not giving space to disco. If ever they do get round to reviewing it the records are so old. And then it's only a mention just to sound hip. Yet I'm sure there's a market judging by the numbers of people who ask in clubs.

We can get as ahead as we like at Cha-Cha so long as we include Simple Minds. I made a point of introducing a 50% funk policy over the past year because I get bored with the pompous futurists like Ultravox. A lot of people haven't heard Gil Scott-Heron and there is no way they can't dance to James Brown.

The quintessential Cha-Cha sound sound is Patrick Cowley's 'Mind Warp'. Heaven on a Saturday is basically very very fast 130bpm wild dancing but these days more gays complain that it's too fast. Where gay music once led trends, the interesting crossover has Yazoo's two singles which they now play in Heaven. The gay market wouldn't normally touch them but the German mix of 'The Anvil' and the ABC remix have crossed too.

In fact there's never been more choice than we have now: excellent imports and so many brilliant British bands. Those two Blancmange singles must have been last year's best. And listen for Set The Tone's first single, it's gifted. And small English one-offs like Animal Nightlife and Shriek Back are going to do well"

State of the Dance:

Yello - Heavy Whispers (acetate, electro funk)

Divine - Kick your Butt (gay disco)

Vaughan Mason - You can do it (hard funk)

Members - Go West (English dance music)

Set The Tone - Dance Sucker (Scottish dance music)

(There's some other interesting material in this issue which I might get round to posting, including similar interviews with David Rodigan and Steve Walsh)

A letter from the Home Secretary to Geoffrey Howe from 2 November 1989 reported: 'We understand from the Metropolitan Police that so far this year 223 such parties have taken place in London and the South East, of which 96 were actually stopped after they had begun. A further 95 planned parties have been prevented by pre-emptive action by the police or local authorities' (letter 2 November 1989).

In a hand written comment, Prime Minister Thatcher wrote ‘if this is a new “fashion” we must be prepared for it and preferably prevent such things from lasting’ (6 September 1989).

After reviewing the powers available to the authorities, the Government concluded that the way forward was to increase the fines for existing licensing offences, rather than bring in new powers as such. The result was to be the Entertainments (Increased Penalties) Act 1990 - 'An Act to increase the penalties for certain offences under enactments relating to the licensing of premises or places used for dancing, music or other entertainments of a like kind'. The question was of course to be revisited a few years later when the Government introduced the Criminal Justice Act which gave the police more direct powers to intervene to stop parties.

'Acid House Parties - the Prime Minister has seen the Home Secretary's letter of 2 November to the Lord President. She was content with his proposals to increase the penalites for illegally organising acid house parties and for making the profits from such parties libale to confiscation' (4 November 1989)

In the mean time, the police and local authorities were encouraged to make more assertive use of existing powers. The papers include a press clipping praising Operation Jute, a massive police operation to stop a party in Kent: 'Drug busting police sealed off an entire town twice at the weekend to claim thier first victory over the Acid House cult. Six thousand revellers were turned back from Chatham, Kent in the early hours of yesterday after a specially trained squad of 250 officers outmanoeuvred them across three counties' (Daily Express, 9 October 1989).

Thursday, December 29, 2016

I recently came across an issue of Tate magazine from 2000, a special issue celebrating the opening in that year of Tate Modern. It includes an interesting discussion between Philip Dodd and Zadie Smith, looking back over 1990s London, including the transformation of Shoreditch into Hoxton, the deaths of Stephen Lawrence and Princess Diana, and the fascist bomb attacks on Brixton, Brick Lane and Old Compton Street. One of the things Zadie Smith touches on is the Blue Note Club in Hoxton:

'It was the last of the community clubbing experiences. It was artificial because it was partly to do with fame. You'd have a lot of people in there pretending that they couldn't see Bjork, who was standing right next to them. Yet the whole of the club was in one corner of the room circled around Bjork. It was about fame, but it was these people who did have quite a huge amount of fame who seemed perfectly willing to hang out with you, smoke with you, have a drink. Everybody was having a laugh.

Firstly, I was a Sunday kid, for the jungle, but you went to Anokha, on Monday, to see all that explosion of Asianness. When it first happened it was so exciting. We could see Talvin [Singh] doing so well. Bhangra has been going on in Wembley and Bradford for years. but he just changed it slightly, added a bit more of a western sound to it and everybody loved it. On jungle nights, MCs used to say a lot of cheesy things over the top of it like "black and white unite", but it did feel like that'

(I never went to Anokha at Blue Note, but I did go to the night they put on around that time at The Vibe Bar, called Calcutta Cyber Cafe)

Monday, March 14, 2016

It is now more than 30 years since the 1984-85 miners strike, the last great stand of what had once been seen as the most militant and powerful section of the working class in Britain.
The dispute started in South Yorkshire in March 1984 with miners walking out in response to the announcement that Cortonwood pit was threatened with closure. The miners claimed that there was a Government and coal board plan to close down large parts of the industry, and the National Union of Mineworkers called a national strike.

The strike finished a year later in defeat. The miners’ claims that the industry was under threat were soon proved correct – the last deep mine in the UK closed last December.
The full forces of the state were mobilised against the strike. New laws were passed, more than 11,000 arrests were made and almost 200 miners were imprisoned.

On the other side there was significant support for the strike, with miners support groups being set up across the country. On the music front there were many benefit gigs involving a wide spectrum from folk singers to punk bands, and as the strike progressed songs were written about it and records released.
What follows is a mix I have put together of music related to the miners strike. It includes songs and tracks about the strike, mostly from the time of the dispute but in some cases looking back in its aftermath. The mix also includes some spoken word recollections from the strike, including my own of one particular day in Mansfield. It reflects the diversity of the musical output related to the strike, so does leap from industrial noise to acoustic ballads – and in some cases mixes the two together. The collision of Norma Waterson and Test Dept sounds great!

The mix is based on a set I played in March 2014 at an Agit Disco benefit night for Housmans bookshop, held at Surya, Pentonville Road, London N1. It included a selection of DJs most of whom had contributed to Stefan Szczelkun’s Agit Disco project/book on political music. The full line up included:
Sian Addicott,
Martin Dixon,
John Eden,
Marc Garrett,
Nik Górecki,
Caroline Heron,
Stewart Home,
Paul Jamrozy (Test Dept),
Micheline Mason,
Tracey Moberly,
Luca Paci,
Simon Poulter,
Howard Slater,
Andy T,
Neil Transpontine.
Tom Vague
and Stefan Szczelkun.
I chose to focus on music relating to the miners strike as the event took place in the week of the 30th anniversary of the start of the strike. This is not a recording of the live set, but a mix put together later reflecting what I played that night.
If some of the sound quality is not great, hopefully it will stimulate you to search further...

Here's the full playlist with some details of the tracks:

00:00 Keresley Pit Women’s Support Group - You won’t find me on the picket line

From 7” EP ‘Amnesty – reinstate and set them free’ put out by Banner Theatre company in 1985

From BBC Radio Ballads: The Ballad of The Miner's Strike (2010), including miners recalling the Orgreave picket.

03:58 - Test Dept – Fuel to Fight

From the album Shoulder to Shoulder by Test Dept and South Wales Striking Miners Choir (1985)

04:32 – Norma Waterson – Coal not Dole

Song written by Kay Sutcliffe and originally recorded by Eve Bland for the album 'Which Side Are You On: Music For The Miners From The North East' (1985). The song has also been recorded by artists including The Happy End (1987), Chumbawamba (1992), The Oyster Band and Norma Waterson.
The song’s popularity perhaps relates to its melancholy anticipation of the actual outcome of the strike – not a heroic victory but the desolation of closed mines and industrial ruins. Sutcliffe asked ‘What will become of this pit-yard, Where men once trampled faces hard?’, imagining a future of ‘tourists gazing round. Asking if men once worked here,
Way beneath this pit-head gear’. Now all the pits have closed all that remains is the National Coal Mining Museum.

07:46 - Dave Burns – Maerdy, Last Pit in the Rhondda

A song written by Dave Rogers of Birmingham-based Banner Theatre, it was recorded by Dave Burns for his album ‘Last pit in the Rhondda’ (1986), released with the backing of South Wales NUM with proceeds ‘to help miners sacked as a result of the 84/85 strike’. Like ‘Coal Not Dole’, the song’s image of the strike-imposed silence of the mine foreshadows its future: ‘There's mist down in the valley and the snow lies on the hill, No men walk through the empty street the pit lies quiet and still’

a benefit for sacked miners at
Woodburn Miners Welfare Club in Dalkeith, Midlothian in 1985, this song recalls
the strikers who died amidst the massive police operation:

‘Let's pause here to remember the
men who gave their lives, Joe Green and David Jones were killed in fighting for
their rights / But their courage and their sacrifice we never will forget / And
we won't forget the reason, too, they met an early death / For the
strikebreakers in uniforms were many thousand strong / And any picket who was
in the way was battered to the ground / With police vans driving into them and
truncheons on the head’

17:26 – The Enemy Within – Strike

The Enemy Within was John Deguid and Marek Kohn, produced by Adrian Sherwood and Keith LeBlanc with sampled speech from Arthur Scargill. Released on Rough Trade 1984 – insert sleeve included statement – ‘Play this record at six and support the miners' campaign to create a surge of demand for power at six o'clock every evening!’
19:18 Council Collective – Soul DeepPaul Weller and Mick Talbot’s Style Council with guests including Motown singer Jimmy Ruffin, Dee C. Lee, Junior Giscombe, Dizzy Hites and Vaughan Toulouse: 'Getchamining
soul deep with a lesson in history, There's people fighting for their
communities, Don't say their struggle does not involve you, If you're from the
working class it's your struggle too'.19:30 – Ann Scargill
Spoken word reflection on women joining the picket line by one of the founders of Women Against Pit Closures.
22:34 and 24:55 - Alan SutcliffeExcerpts from speech by Kent miner, taken from the album Shoulder to Shoulder by Test Dept and South Wales Striking Miners Choir (1985). Last April (2015) I went to a great Test Dept film/book launch at the Ritzy Cinema in Brixton. Alan Sutcliffe was there in the audience and said a few words.
25:28 – Nocturnal Emissions - Bring power to its knees
This track was included on the compilation album Here we go: A celebration of the first year of the U.K. Miner's Strike 1984-1985 (Sterile Records 1985). This version is from the 1985 album 'Songs of Love and Revolution'.27:33 – Pulp – Last day of the miners strike‘overhead the sound of horses' hooves, people fighting for their lives’. From the 2002 album ‘Hits’
31:54 - Chumbawamba – FitzwilliamFrom the compilation album ‘Dig This: A Tribute To The Great Strike’ (Forward Sounds International, 1985). 'Smiles for the cameras as the miners return, They say no one has lost and no one has gained, But wiser and stronger the people have changed, And it won't be the same in Fitzwilliam again'.

34:23 – Banner Theatre song group - AmnestyIncludes spoken word by miners from Keresley Pit, Coventry. From 7” EP ‘Amnesty – reinstate and set them free’ put out by Banner Theatre company in 1985
38:50 - The Country Pickets - Daddy (what did you do in the strike)From the album ‘Which side are you on ?’ (Which Side Records, 1985) – song written by Ewan MacColl, his version was included on a cassette he and Peggy Seeger put out in 1984. ‘Daddy what did you do in the strike’ on their Blackthorn records was 'a musical documentation of the 1984 miners strike' with 'profits to National Union of Mineworkers'.
42:35 - Style Council – A stone’s throw awayAn internationalist response linking the miners strike with other struggles across the world at that time: 'For liberty there is a cost, it's broken skull and leather cosh, from the boys in uniform, now you know what side they're on... In Chile, In Poland, Johannesburg, South Yorkshire, A stone's throw away, now we're there'.

Tuesday, December 29, 2015

Reading Marlon James' brilliant 'A Brief History of Seven Killings' has led me into a re-appreciation of Bob Marley. Of course everybody loves Marley, but the very ubiquity of his image, from cans of drinks to posters on student stoners' bedroom walls, is part of the problem. Like The Beatles or The Clash it's hard to simply listen to the songs buried under decades of nostalgia and music industry marketing.

While reading the novel I went back and listened properly to Marley's output for the first time in years, starting with his early material. And yes a lot of it still sounds great! Reading about the political and social conditions of 1970s Jamaica in the novel, you can certainly understand the incendiary impact of songs like 'Them Belly Full (But We Hungry)' or 'Talkin' Blues' ('who's gonna stay at home when the freedom fighters are fighting?').

Bob Marley mural by Dale Grimshaw near to Brockley station, South London. This was painted this year to replace a previous Marley mural that was demolished. Its painting was contentious locally. Marley had no particular connection to this place, but as with all Marley-related matters it's what he symbolises that many find significant - in this case a visual link to the area's African Caribbean recent history in a period when it is arguably become more white/middle class.

In some ways the novel is only tangentially about Marley, referred to as The Singer throughout. He rarely appears himself as a character, but he is a central focus for many of the other characters whose lives are shaped by their involvement, in various ways, in the shooting of Marley in December 1976. For James this incident is just a moment, albeit a key one, in a bigger geopolitical story that includes the Cold War and its impact on the political situation in Jamaica, polarised between two main parties and their related armed gangs, and subsequently the transformation of local gangsters into major players in the international drugs trade. All this and a lot more than seven killings.

But at one point James does reflect briefly on the wider significance of Marley as a global talisman for 'sufferahs' everywhere:

'Three girls from Kashmir sling on bass, guitar and drums, fresh faces brimming out of burkas, propped up and held together by a backdrop of the Singer streaked in red, green and gold stripes, thick like a pillars. They call themselves First Ray of Light, soul sisters to the Singer smiling with his rising sun. Out of a wrapped face comes a melody so fragile it almost vanishes in the air. But it lands on a drum that kicks the groove back up to where the song lingers, swells and soothes. Now the Singer is a balm to spread over broken countries. Soon, the men who kills girls issue a holy order and boys all over the valley vow to clean their guns, and stiffen their cocks, to hold down and take away. The Singer is support, but he cannot shield, and the band breaks away.

But in another city, another valley, another ghetto, another slum, another favela, another township, another intifada, another war, another birth, somebody is singing Redemption Song, as if the Singer wrote it for no other reason but for this sufferah to sing, shout, whisper, weep, bawl, and scream right here, right now'.

The 'Three girls from Kashmir' referred to here are the band Pragaash (whose name translates as first ray of light), who appeared briefly in December 2012 but gave up a few months later after the Grand Mufti in Kashmir issued a fatwa terming singing as un-Islamic and the band received online threats.

Monday, October 26, 2015

'Magic Feet' was a 1990s Nottingham-based dance music zine. Here's the front and back cover of the first issue from November 1994 promising 'hard house, ambient, electronic, acid, trance, techno, whatever you want to call it', and featuring Stefan Robbers, Innersphere and Warp/GTO charts.

The back page includes an article from the Brixton-based Freedom Network about the then ongoing campaign against the Criminal Justice Bill and its 'anti-rave' powers. A demonstration in London's Hyde Park in the previous month- on October 9th 1994 - had ended in clashes with the police and the article calls for witnesses to come forward. Forthcoming events mentioned include more Anti-CJB actions in Guildford, Barnstaple and elsewhere, the launch of the 'Taking Liberties' compilation (an anti-CJB LP featuring Test Dept, The Orb, Loop Guru and others) and a benefit for Squall magazine at Megatripolis - the alternative techno/trance club held in London on Thursday nights. I think I went to that night, anyway I remember seeing a film/talk about the Newbury road protest in the somewhat incongruous setting of a banging Thursday night in Heaven.

Tuesday, October 20, 2015

This Friday (23 October) I will be saying a few words at the launch of the new Datacide book, Everything Else is Even More Ridiculous, which brings together the first 10 issues of the noise and politics zine published between 1997 and 2008. It takes place at Housmans bookshop, 5 Caledonian Road, London N1 (round the corner from Kings Cross station).

Full details:

Datacide - the Magazine for Noise & Politics - presents the release of two new books with short talks by Datacide writers Stewart Home, Neil Transpontine and Christoph Fringeli

EVERYTHING ELSE IS EVEN MORE RIDICULOUS

a decade of noise & politics – datacide issues 1-10

A major project in the works for quite some time, this is a complete reprint of the issues 1-10 of datacide, which originally appeared from 1997-2008. Titled “EVERYTHING ELSE IS EVEN MORE RIDICULOUS”, the 364 page volume collects unique material, most of which has been out of print for many years, charting a one-of-a-kind history of the counter-cultures associated with electronic music and free festivals.

“The free space of the party met the free space of the page and then you got a dynamism that encouraged expression and perversions and tangents because the covers held it together as a nomadic movement and you were convinced that music had catalysed it all and that music was somehow inherently political as it sidestepped rhetoric and dogma, and absented us from control addicts and the free space of the page was a kind of historic party, a kind of invisible college, a launching pad for driftage.” Flint Michigan

AND:

Almanac for Noise & Politics 2015

If you’re already familiar with datacide magazine and our related record label for extreme electronic music – Praxis – then you’re familiar with the efforts we’ve made over the last two decades to continually explore the intersections of radical politics and underground rave culture, experimental and extreme electronic music, moments of free spaces and momentary freak-outs and how these can be represented on the page and through the speakers. If not, this may be a good place to start. Either way, the Almanac for noise & politics 2015 contains a selection of articles and excerpts from various issues of datacide, as well as a peek into the activities of the Praxis label and its offshoots.

This first edition is meant to be a brief introduction to the wide range of topics covered in datacide.

Articles include: Post-Media Operators by Howard Slater/Eddie Miller/Flint Michigan, No Stars here (track -1) by TechNET, A Loop Da Loop Era – Towards an (Anti-)history of Rave by Neil Transpontine, Radical Intersections by Christoph Fringeli, Vinyl Meltdown by Alexis Wolton, Plague in this Town by Matthew Hyland, Just Say Non – Nazism, Narcissism and Boyd Rice by whomakesthenazis.com, Interview with Christoph Fringeli/Praxis Records from Objection to Procedure, a new short story by Dan Hekate, as well as a commented catalogue. This is interspersed by new visual work by Matthieu Bourel, Lynx, Sansculotte, Tóng Zhi, and Zombieflesheater!

Full colour cover and 104 inside pages in A6 format!

Starts at 7.30 (till 9-ish) - Entry is £3 (redeemable towards any purchase in the bookshop)

Friday, September 04, 2015

Rico Rodriguez, the great Jamaican ska trombonist, has died this week at the age of 80. In the UK he's best known for his work with The Specials, including playing on 1981's Ghost Town. The record famously reached number one in the week of the July riots that swept the country that year, and was actually recorded in the week of the first Brixton riot in April 1981 - a precursor to the long hot summer that was to come. The song's lyrics seemed to have anticipated the uprisings with its lines 'This place, is coming like a ghost town, No job to be found in this country, Can't go on no more, The people getting angry'. Even the video seemed with hindsight to refer to rioting, with the band throwing stones - though into the Thames at Rotherhithe rather than at the police.

During the Brixton riot, The George - a pub with a racist reputation on the corner of Railton Road and Effra Parade -was burnt down. A new pub, Mingles, was built to replace it and unlike its predecesor was predominantly an African-Caribbean bar. In the early 1990s, in between his Specials stint and his involvement with Jools Holland's band, Rico used to play down at Mingles. The place was just down the road from the 121 Centre which I frequented, and a few of us went down to Mingles a couple of times to see him play. It was no big deal, just a a band playing in the pub in a low key way, but what a band. To be honest I thought at the time Rico deserved a bigger venue, but there was a sweet irony in this Jamaican musician playing in that place given its history.

In a further ironic twist, a future Jamaican musician might not be able to play in a place like this - not because of racist door policies but because of the loss of venues as a result of more affluent residents moving into the area that was once known as the Front Line. Mingles became the Harmony Bar and then La Pearl, before closing. Antic - who run the Dogstar and various other London pubs - acquired the site (82 Railton Road SE24) and applied for planning permission to develop it with flats above and a bar below. Local residents campaigned against it with a 2012 petition stating that 'We strongly feel this site is no longer suitable to be used as a pub or entertainment venue, as the surrounding streets have become more residential and it is too close to these homes'.

Planning permission was refused and BrixtonBuzz reported a press release last year that crowed 'London based construction specialists Sorrel Construction Ltd, partner with Lambeth Council to breathe much needed life into a post-riot area... Sorrel Construction Limited have recently announced their latest project working closely with Lambeth Council to dramatically transform a damaged pub on Railton Road into a series of brand new luxury flats'.

Thursday, June 11, 2015

'Flappers as Anarchists: delegates who do not look as though they used bombs'

'Anarchists are in conference at Newcastle-on-Tyne. The statement sounds very terrible and smacks of bombs and desperate deeds against society, but the delegates are in reality the mildest people imaginable. There are between thirty and forty of them, including three girls in the "flapper" stage. They dress like respectable Unionists or Liberals' (Daily Mirror, 14 April 1914)

Politics of Dancing

'People have always come together to move to music. In the process communities have been created, social divisions challenged, pleasure exalted over work and a billion relationships have blossomed. At the same time dancing bodies have often been subject to regulation – rules about when, where and how they can move, rules about who is allowed to dance with who, rules about what dancers can wear and put inside their bodies… That, in essence, is the 'politics of dancing'.

Musicking

'musicking... is an activity in which all those present are involved and for whose nature and quality, success or failure, everyone present bears some responsibility. It is not just a matter of composers, or even perform­ers, actively doing something to, or for, passive listeners. Whatever it is we are doing, we are all doing it together—performers, listeners... dancers, ticket collectors, piano movers, roadies, cleaners and all' (Christopher Small).

Dancing Questionnaire

The aim of the 'dancing questionnaire' is to get a sense of the diversity of people's experiences of dancing and musicking. If you want to contribute, please answer the following questions yourself and send to transpontine@btinternet.com.

1. Can you remember your first experience of dancing? / 2.
What’s the most interesting/significant thing that has happened to you while out dancing? / 3. You. Dancing. The best of times… / 4. You. Dancing. The worst of times… / 5.
Can you give a quick tour of the different dancing scenes/times/places you’ve frequented? / 6. When and where did you last dance? / 7. You’re on your death bed. What piece of music would make your leap up for one final dance? (Previous Questionnaires)

Photo policy

I spend a lot of time trying to find evocative images to go with some of the text on this site. I always fully credit and link to where photos were sourced from. If though I have used one of your images in a way you are not happy with, email me and I will remove it.